Memória e ficção narrativa: a história alemã revisitada através da literatura e do cinema

O presente trabalho procura, de forma sucinta, descrever o processo de confronto da nação alemã com o seu passado nacional-socialista, um processo que se tem vindo a desenrolar num âmbito político, jurídico e social desde há mais de seis décadas. Pretende-se ainda argumentar que o período em que a Alemanha viveu sob o domínio nazi, elemento incontornável da própria narrativa nacional, tem sido amplamente representado quer na literatura, quer no cinema, tanto por sujeitos da chamada primeira geração, como também pelas gerações que nasceram após 1945, indivíduos cuja influência do passado familiar e/ou interesse pela memória histórica do país constituem a matriz das suas obras.

Weaving encounters: towards an art of participation

In the early 21st Century, with the phenomenon of digital convergence, the consecration of Web 2.0, the decrease of the cost of cameras and video recorders, the proliferation of mobile phones, laptops and wireless technologies, we witness the arising of a new wave of media, of an informal, personal and at times “minority” nature, facilitating social networks, a culture of fans, of sharing and remix. As digital networks become fully and deeply intricate in our experience, the idea of “participation” arises as one of the most complex and controversial themes of the contemporary critical discourse, namely in what concerns contemporary art and new media art. However, the idea of “participation” as a practice or postulate traverses the 20th century art playing an essential role in its auto-critic, in questioning the concept of author, and in the dilution of the frontiers between art, “life” and society, emphasizing the process, the everyday and a community sense. As such, questioning the new media art in light of a “participatory art” (Frieling, 2008) invokes a double gaze simultaneously attentive to the emerging figures of a “participatory aesthetics” in digital arts and of the genealogy in which it is included. In fact, relating the new media art with the complex and paradoxical phenomenon of “participation” allows us to, on the one hand, avoid “digital formalism” (Lovink, 2008) and analyse the relations between digital art and contemporary social movements; on the other hand, this angle of analysis contributes to reinforce the dialogue and the links between digital art and contemporary art, questioning the alleged frontiers that separate them.

Uma só palavra: experiência de narrativa dramática: trabalho de projecto

Trabalho de Projecto submetido à Escola Superior de Teatro e Cinema para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Teatro - especialização em Artes Performativas (Escritas de Cena).

Study of antiretroviral mutants in HIV patients with treatment failures and the effect of risk factors in the virological failures

INTRODUCTION: Information about HIV phenotypes of resistant to available ART and the influence of different risk factors on virological failures (VF) in Costa Rican HIV positive patients prior or during HAART is unknown. MATERIALS AND METHODS: Eighty nine samples, 72 VF and 17 basal (before treatment) were analyzed by examining resistant mutants in reverse transcriptase (RT) and protease (PT) regions using Trugene or LIPA genotyping kits. Sixty eight control patients were selected and relevant information was collected in a questionnaire. RESULTS: Poor adherence, presence of resistant mutations and number of treatment's changes were the only significant factors found (p = 0.006, 0.04 and 0.01 respectively). From 66 sequenced samples, 78%, 50% and 50% showed resistance to NRTI (nucleoside reverse transcriptase inhibitors), NNRT (non-nucleoside reverse transcriptase inhibitors) and PI (protease inhibitors), respectively. The most frequent mutations were M41L, M184V, and T215FY in RT and L62PI, L10FIRV and M36I in PT. DISCUSSION: The most important factor related to treatment response in this study was adherence to treatment. Mutations in RT were related to the treatment failure while the ones found in PT were secondary mutations which have been previously described to influence the selection of primary resistance mutations in these regions. The study reveals the urgency to detect resistant mutations in VF to be considered by physicians for selection of treatment schedule, to analyze basal HIV patients for monitoring of the spread of resistant mutations and the importance to reinforce the adherence in the patients for overall treatment outcome.

In vitro and in vivo antileishmanial efficacy of a combination therapy of diminazene and artesunate against Leishmania donovani in BALB/c mice

The in vitro and in vivo activity of diminazene (Dim), artesunate (Art) and combination of Dim and Art (Dim-Art) against Leishmania donovani was compared to reference drug; amphotericin B. IC50 of Dim-Art was found to be 2.28 ± 0.24 µg/mL while those of Dim and Art were 9.16 ± 0.3 µg/mL and 4.64 ± 0.48 µg/mL respectively. The IC50 for Amphot B was 0.16 ± 0.32 µg/mL against stationary-phase promastigotes. In vivo evaluation in the L. donovani BALB/c mice model indicated that treatments with the combined drug therapy at doses of 12.5 mg/kg for 28 consecutive days significantly (p < 0.001) reduced parasite burden in the spleen as compared to the single drug treatments given at the same dosages. Although parasite burden was slightly lower (p < 0.05) in the Amphot B group than in the Dim-Art treatment group, the present study demonstrates the positive advantage and the potential use of the combined therapy of Dim-Art over the constituent drugs, Dim or Art when used alone. Further evaluation is recommended to determine the most efficacious combination ratio of the two compounds.

Thermal shock – and its perfect imperfections

Dissertação de Mestrado em Arte e Ciência do Vidro

Untitled: connecting layers of confusion, sensation and transformation

Dissertação para obtenção do Grau de Mestre em Arte e Ciência do Vidro

War and propaganda in the XXth Century

Propaganda represented the sacrifice of soldiers in war and praised the power of the country. It has been around these images that all over the world entire populations were mobilized on the expectation of victory. Through the static image of printed posters or the newspaper news projected in cinemas all over the globe, governments sought to promote a patriotic spirit, encouraging the effort of individual sacrifice by sending a clear set of messages that directly appealed to the voluntary enlistment in the armies, messages that explained the important of rationing essential goods, of the intensification of food production or the purchase of war bonds, exacerbating feelings, arousing emotions and projecting an image divided between the notion of superiority and the idea of fear of the opponent. From press, in the First World War, to radio in World War II, to television and cinema from the 1950s onwards, propaganda proved to be a weapon as deadly as those managed by soldiers in the battlefield. That’s why it is essential to analyse and discuss the topic of War and Propaganda in the Twentieth Century. This conference is organized by the IHC and the CEIS20 and is part of the Centennial Program of the Great War, organized by the IHC, and the International Centennial Program coordinated by the Imperial War Museum in London.

Mansfield and Lewis: impressionism and vorticism in the short story

The affinities of the short story with the style of painting dominating the period in which it is produced have often been debated by critics. The effects of the application of impressionist and vorticist principles in painting turns out differently in Katherine Mansfield and Wyndham Lewis’ short stories structure and strategies, according to their conceptions of Art and Life and to his career as a painter.

Southern modernisms from A to Z and back again

The book now being published results from a research project entitled Southern Modernisms that ran from March 2014 to May 2015 with FCT funding. The aim of the project was to explore the possibility of constructing a more inclusive, plural notion of modernism through the revision of Modernism’s prevailing definition – its stylistic focus, its formalist and anti-representative bias, as well as its autonomic assumptions, or, as far as architecture is concerned, its functionalist credo. This critical undertaking was grounded on the hypothesis that southern European modernisms featured a strong entrenchment in popular culture (folk art and vernacular architecture), and that this characteristic could be understood as anticipating some of the premises of, what would later become known as, critical regionalismo. (...)

Lisbon Street Art & Urban Creativity. 2014 International Conference

Disponível para consulta - índice e introdução.

Adult learning and education policies in Germany, Portugal and Sweden: An analysis of national reports to CONFINTEA VI

The chapter presents a theoretical proposal of three analytical models of Adult Learning and Education (ALE) policies. Some analytical categories and the corresponding dimensions are organised according to the ALE rationale which is typical of each social policy model. Historical, cultural and educational features are mentioned in connexion with the different policy models and its interpretative capacity to making sense of policies and practices implemented in Germany, Portugal and Sweden. !e analysis includes the states of the art and the official representations of ALE produced by the respective national authorities through national reports which were presented to CONFINTEA VI (2009).

What value can be attached to a concept of mystery and has it a place in contemporary Western culture?

The idea for this thesis arose from a chain of reactions first set in motion by a particular experience. In keeping with the contemporary need to deconstruct every phenomenon it seemed important to analyse this experience in the hope of a satisfactory explanation. The experience referred to is the aesthetic experience provoked by works of art. The plan for the thesis involved trying to establish whether the aesthetic experience is unique and individual, or whether it is one that is experienced universally. Each question that arises in the course of this exploration promotes a dialectical reaction. I rely on the history of aesthetics as a philosophical discipline to supply the answers. This study concentrates on the efforts by philosophers and critical theorists to understand the tensions between the empirical and the emotional, the individual and the universal responses to the sociological, political and material conditions that prevail and are expressed through the medium of art. What I found is that the history of aesthetics is full of contradictory evidence and cannot provide a dogmatic solution to the questions posed. In fact what is indicated is that the mystery that attaches to the aesthetic experience is one that can also apply to the spiritual or transcendent experience. The aim of this thesis is to support the contribution of visual art in the spiritual well being of human development and supports the uniqueness of the evaluation and aesthetic judgement by the individual of a work of art. I suggest that mystery will continue to be of value in the holistic development of human beings and this mystery can be expressed through visual art. Furthermore, this thesis might suggest that what could be looked at is whether a work of art may be redemptive in its affect and offset the current decline in affective religious practice.

Impact of low-level viremia on clinical and virological outcomes in treated HIV-1-infected patients.

BACKGROUND: The goal of antiretroviral therapy (ART) is to reduce HIV-related morbidity and mortality by suppressing HIV replication. The prognostic value of persistent low-level viremia (LLV), particularly for clinical outcomes, is unknown. OBJECTIVE: Assess the association of different levels of LLV with virological failure, AIDS event, and death among HIV-infected patients receiving combination ART. METHODS: We analyzed data from 18 cohorts in Europe and North America, contributing to the ART Cohort Collaboration. Eligible patients achieved viral load below 50 copies/ml within 3-9 months after ART initiation. LLV50-199 was defined as two consecutive viral loads between 50 and 199 copies/ml and LLV200-499 as two consecutive viral loads between 50 and 499 copies/ml, with at least one between 200 and 499 copies/ml. We used Cox models to estimate the association of LLV with virological failure (two consecutive viral loads at least 500 copies/ml or one viral load at least 500 copies/ml, followed by a modification of ART) and AIDS event/death. RESULTS: Among 17 902 patients, 624 (3.5%) experienced LLV50-199 and 482 (2.7%) LLV200-499. Median follow-up was 2.3 and 3.1 years for virological and clinical outcomes, respectively. There were 1903 virological failure, 532 AIDS events and 480 deaths. LLV200-499 was strongly associated with virological failure [adjusted hazard ratio (aHR) 3.97, 95% confidence interval (CI) 3.05-5.17]. LLV50-199 was weakly associated with virological failure (aHR 1.38, 95% CI 0.96-2.00). LLV50-199 and LLV200-499 were not associated with AIDS event/death (aHR 1.19, 95% CI 0.78-1.82; and aHR 1.11, 95% CI 0.72-1.71, respectively). CONCLUSION: LLV200-499 was strongly associated with virological failure, but not with AIDS event/death. Our results support the US guidelines, which define virological failure as a confirmed viral load above 200 copies/ml.

Xarxes docents per a l'art medieval a Catalunya

El projecte ha d’establir xarxes per posar en contacte els diferents continguts, reflexions i recursos docents emprats per professors d’art medieval de la UB i la URV s’ha dut a terme adaptant-se a diferents conjuntures. Una modificació sorgida durant el desenvolupament del projecte deriva de la transformació que han de patir els actuals plans d’estudis enfront dels nous títols de grau. Els lligams plantejats en funció d’unes determinades assignatures s’ha vist alterat quan la seva definició i durada ha variat dins els nous plans d’estudis, en la preparació dels quals han intervingut diversos membres del projecte, tant des del Consell d’estudis com des de la Comissió promotora del grau d’història de l’art. Malgrat tot, els diferents professors hem elaborat materials específics per a la docència de les actuals assignatures, incloent un extens ventall de presentacions en PowerPoint, que abasten les distintes matèries implicades. A més de les classes i pràctiques pròpies de cada assignatura, vàrem dur a terme el cicle de conferències Imatges Indiscretes. Art i devoció a l’Edat Mitjana, per tal d’aproximar l’alumnat a la recerca desenvolupada pels membres del grup (incloent becaris i alguns invitats procedents d’altres universitats), ampliant l’oferta formativa més enllà dels formats més predeterminats. És en curs la publicació del cicle en forma de dossier docent. Si aquesta activitat s’orientava vers els continguts relatius a l’art medieval, també hem promogut una reflexió adreçada vers una problemàtica general específicament docent amb un Seminari de docència sobre a història de l’’art en el qual han participat, a més del grup, un ampli ventall de professors del Departament d’Història de l’Art de la UB, així com docents d’altres universitats i professionals vinculats a l’exercici de la disciplina. Tant el seminari com el cicle de conferències són propostes a les quals és previst donar continuïtat en futures convocatòries.